I first understood the power of the documentary during the editing of my first film, The Quiet Mutiny.
In the commentary, I make reference to a chicken, which my crew and I encountered while on patrol with American soldiers in Vietnam.
“It must be a Vietcong chicken – a communist chicken,” said the sergeant. He wrote in his report: “enemy sighted”.
The chicken moment seemed to underline the farce of the war – so I included it in the film.
That may have been unwise.
The regulator of commercial television in Britain – then the Independent Television Authority or ITA – had demanded to see my script.
What was my source for the political affiliation of the chicken? I was asked. Was it really a communist chicken, or could it have been a pro-American chicken?
Of course, this nonsense had a serious purpose; when The Quiet Mutiny was broadcast by ITV in 1970, the US ambassador to Britain, Walter Annenberg, a personal friend of President Richard Nixon, complained to the ITA.
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